<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261320">
    <dcterms:title><![CDATA[Chaucerian Belief: The Poetics of Reverence and Delight]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s works explore and promote &quot;cognitive credence&quot;--belief as a way of knowing the truths reflected in fiction. In BD, HF, PF, and LGWP, the narrators&#039; confrontations with various fictions show that belief and emotional involvement are prerequisites for approaching the truth of tales.  CT is best understood not as a rhetorical or a dramatic variety of tellers and tales but as a series of experiments in representing affectively the feelings, beliefs,]]></dcterms:description>
    <dcterms:description><![CDATA[  and perceptions of narrators and audience who seek to state or find truth.  Fragment VII is central to understanding Chaucer&#039;s reverential epistemology of fiction but SNT, CYT, ManT, SqT, and FranT also reflect his examinations.  Since such an epistemology is exploratory rather than exclamatory,ParsT may not be part of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276819">
    <dcterms:title><![CDATA[Chaucerian Character Names in Lydgate&#039;s &quot;Siege of Thebes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Charts the charactonyms of Lydgate&#039;s &quot;Seige of Thebes&quot; with those used in two analogues, possibly sources--the &quot;Roman de Edipus&quot; and the &quot;Ystoire de Thèbes--comparing them with names and spellings used by Chaucer. When Lydgate departs from Chaucer&#039;s usage, he tends to follow the &quot;Edipus.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265923">
    <dcterms:title><![CDATA[Chaucerian Choice: Formal and Thematic Considerations in the &#039;Wife of Bath&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Arfin considers WBT as a &quot;demande,&quot; written toward the end of the composition of CT as Chaucer&#039;s comment on &quot;the collection as a whole&quot; or on the &quot;nature of literature in general&quot; in his work-in-progress.]]></dcterms:description>
    <dcterms:description><![CDATA[In discussing ethics and choice, the article makes passing references to the Pardoner, MLT, FranT, ParsT, and Ret.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264641">
    <dcterms:title><![CDATA[Chaucerian Comedy and Criseyde]]></dcterms:title>
    <dcterms:description><![CDATA[Recently critical emphasis has been upon the sustained irony in the tragic tale of TC.  Along with it is a peculiarly Chaucerian kind of comedy that may best be labeled &quot;bodily laughter,&quot; because although it laughs &quot;at&quot; the body, it does so out of sympathy in order to affirm, not to deny, the body&#039;s values.  Unlike the prototypical Boccaccian heroine, Chaucer&#039;s creation is endowed with a sense of humor.]]></dcterms:description>
    <dcterms:description><![CDATA[Further, the poet makes fun of her quintessential femininity, as it was seen in the Middle Ages, perhaps in stereotype.  Even in the increasingly sad Books IV and V, her comic values remain.  For a worthy continuation of this kind of comedy we look to CT and to WBP.]]></dcterms:description>
    <dcterms:description><![CDATA[Though Alison of Bath is different in many ways from Criseyde,she nevertheless shares many attributes, including the comic-pathetic one whereby both are comic heroines who go round and round on Fortune&#039;s wheel and who believe in the future, beating against the current even as they are borne back ceaselessly into the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267981">
    <dcterms:title><![CDATA[Chaucerian Comedy and Shakespearean Tragedy]]></dcterms:title>
    <dcterms:description><![CDATA[TC inspired both Albert Brooke&#039;s The Tragicall Historye of Romeus and Juliet and Shakespeare&#039;s Romeo and Juliet. Shakespeare&#039;s play is a &quot;more serious and comprehensive reading&quot; of TC, particularly its fusion of comedy and tragedy, than is Shakespeare&#039;s later Troilus and Cressida.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270899">
    <dcterms:title><![CDATA[Chaucerian Comedy: &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Mieszkowski contrasts the situational comedy of TC and the structural comedic techniques of MilT, MerT, and SumT. Chaucer generates &quot;all the comedy&quot; of TC by means of Pandarus, whose comic counterpoint compels readers to reconceptualize love without obviating the romantic view. In the poem, love is both comic and transcendent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261958">
    <dcterms:title><![CDATA[Chaucerian Confession: Penitential Literature and the Pardoner]]></dcterms:title>
    <dcterms:description><![CDATA[Confessional literature illumines the Pardoner&#039;s performance by explaining the motives which lie behind it.  Parallels with the &quot;false confession&quot; and an analysis of the pitfalls of despair and presumption suggest that the Pardoner is suffering from despair and trying to hide that fact from the pilgrims and himself.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269514">
    <dcterms:title><![CDATA[Chaucerian Conflict: Languages of Antagonism in Late Fourteenth-Century London]]></dcterms:title>
    <dcterms:description><![CDATA[Explores how social division and civic dissent were articulated and addressed in late fourteenth-century literature. As evident in HF, TC, and CT, Chaucer was persistently interested in the slipperiness of truth and in the power of language. Figures such as Fame and the Host, who try to control and regulate discourse, expose the difficulties inherent in trying to limit what people can say. In the house of Rumour and on the Canterbury pilgrimage, discursive conflict can run riot, resisting authoritative meaning or peaceful resolution. Mel suggests that antagonism will always force its way to the surface and that reconciliation can at most be a temporary, politic state of affairs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/270014">
    <dcterms:title><![CDATA[Chaucerian Counterpoise in The Canterbury Tales: Implications of Newfangleness and Suffisaunce for the 21st Century Reader]]></dcterms:title>
    <dcterms:description><![CDATA[Veck comments on recurrent thematic opposition between newfangleness and sufficiency or steadfastness in Wom Unc, Truth, and CT. She suggests that Chaucer complicates the opposition with examples in which &quot;a dash of inconstancy or newfangleness would work well&quot; (e.g., MLT and ClT).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264516">
    <dcterms:title><![CDATA[Chaucerian Criticism: The Significance of Varying Perspectives]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s enduring appeal derives from his poetry&#039;s visuality,its presentation of unchanging human behavior, its deliberate ambiguity.  The broad ranges of psychological criticism are viable as long as they are understood as imaginative constructs of the critics and not the poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276453">
    <dcterms:title><![CDATA[Chaucerian Diplomacy.]]></dcterms:title>
    <dcterms:description><![CDATA[Emphasizes Chaucer&#039;s diplomatic experience in Italy to &quot;show how Chaucer drew on the work of Petrarch and Boccaccio to experiment with fictionalised<br />
forms of the ambassadorial process.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268744">
    <dcterms:title><![CDATA[Chaucerian Dream Visions and Complaints]]></dcterms:title>
    <dcterms:description><![CDATA[Edits four works (&quot;The Boke of Cupide, God of Love,&quot; &quot;A Complaynte of a Lovers Lyfe,&quot; &quot;The Quare of Jelusy,&quot; and &quot;La Belle Dame sans Mercy&quot;), all except the &quot;Quare&quot; once attributed to Chaucer.]]></dcterms:description>
    <dcterms:description><![CDATA[Includes for each an introduction; the text, with obscure terms defined in the margins; explanatory notes; and textual notes. The volume also contains a glossary and bibliography. Seeks to bring these works out from Chaucer&#039;s shadow.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273051">
    <dcterms:title><![CDATA[Chaucerian Echoes in the &#039;Debate betweene Pride and Lowlines&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates character development, language, and motifs of GP, CT, and TC to establish the extent of Chaucer&#039;s influence on the sixteenth-century poem &quot;Debate betweene Pride and Lowlines.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275627">
    <dcterms:title><![CDATA[Chaucerian Ecopoetics: Deconstructing Anthropocentrism in the &quot;Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Theorizes ecopoetic criticism, considering anthropocentrism, anthropotropism, and the &quot;writability&quot; of voices, whether human or nonhuman. Considers the &quot;turn&quot; to the human that opens GP and how the &quot;impenetrability&quot; of the human in GP is &quot;often marked by nonhuman imagery.&quot; KnT responds to GP by masking anthropotropism as &quot;theotropic necessity,&quot; and MilT replaces the &quot;ecophobia&quot; of KnT with &quot;brittle&quot; biophilia based in a &quot;conception of metaphor&quot; undercut in RvT. Both FranT and PhyT &quot;sabotage their own anthropotropism&quot;; the &quot;viable theotropism&quot; of MkT (Nabugodonosor) is &quot;abjected&quot; in the interruptions of the Knight and Host. In CT the limits of language recurrently undermine &quot;anthropocentric fantasies.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268573">
    <dcterms:title><![CDATA[Chaucerian Fabliaux, Cinematic Fabliau : Pier Paolo Pasolini&#039;s &#039;I racconti di Canterbury&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Pasolini&#039;s film as a series of medieval fabliaux, not as an attempt to capture all the genres of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264967">
    <dcterms:title><![CDATA[Chaucerian Fiction]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s fictions show a logical development.  The first are the &quot;poetic fictions.&quot;  In exploring the idea of authorial experience, the dream visions speculate on the poet&#039;s reaction to his audience and on the value of poetic activity.  The second group consists of the &quot;philosophic fictions.&quot;  On the premise of authoritativeness, a narrative persona reshapes existing fiction to create desired meanings.]]></dcterms:description>
    <dcterms:description><![CDATA[The final group are the &quot;psychological fictions.&quot;  These employ many different narrators to explore the relation between the teller&#039;s psyche and the matter of his tale.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272300">
    <dcterms:title><![CDATA[Chaucerian Final -&#039;e&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that pronounced Chaucerian final -&#039;e&#039; is generally conservative and grammatical (rather than rhetorical or colloquial), identifying parallels in Old English usage and Middle English scribal practice, and commenting on the loss of final -&#039;e&#039; among Chaucer&#039;s later followers.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/269460">
    <dcterms:title><![CDATA[Chaucerian Gardens and the Spirit of Play]]></dcterms:title>
    <dcterms:description><![CDATA[Bleeth examines the ways that gardens in TC, KnT, MerT, and FranT reveal Chaucer&#039;s discomfort with the aristocratic fantasy of &quot;pure play,&quot; idealized in the Roman de la Rose and separated from the world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276599">
    <dcterms:title><![CDATA[Chaucerian Guilt and the &quot;Treatise on the Astrolabe.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the trauma of sexual violence, focusing on Chaucer&#039;s rape of Cecily Chaumpaigne, contextualizing the study of trauma through contemporary theorists Cathy Caruth and Ruth Leys along with Astr. Considers &quot;the relationship between Chaucer&#039;s &#039;raptus,&#039; various legal and cultural referents, and the materiality of sexual violence for modern readers.&quot; Addresses the role of modern readers and the guilt these readers might feel based on their &quot;constructed intimacy with the figure of Father Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273935">
    <dcterms:title><![CDATA[Chaucerian History and Cinematic Perversions in Michael Powell and Emeric Pressburger&#039;s &quot;A Canterbury Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the &quot;experiential vision of the past&quot; depicted in Powell and Pressburger&#039;s movie &quot;A Canterbury Tale,&quot; exploring the &quot;spectral inspiration&quot; of Chaucer, the film&#039;s propaganda value, its &quot;metacinematic&quot; ironies, and its &quot;perversions&quot; of the film medium alongside the perversions of the Glue Man who assaults women in the plot. Ultimately, the movie exposes the &quot;false binary of perversion and sanctity,&quot; particularly as linked to attitudes toward the past.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/268834">
    <dcterms:title><![CDATA[Chaucerian Humor in Moby Dick : Queequeg&#039;s &#039;Ramadan&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Sallfors and Duban contend that MilT &quot;informs the dramatic setting, humor, and tension of Ishmael&#039;s response to Queequeg&#039;s &#039;Ramadan&#039;&quot; in Chapter 17 of Melville&#039;s &quot;Moby Dick.&quot; Specifically, the characterization of John the Carpenter underlies Ishmael&#039;s skeptical response.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275678">
    <dcterms:title><![CDATA[Chaucerian Humor.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the prologue to Th (Prioress-Thopas Link) psychoanalytically as a comic enactment of the internal economy of the self in which the ego (Chaucer) absorbs the &quot;attentions&quot; of the superego (the Host) &quot;so thoroughly as to arrest them&quot; and deflect &quot;unpleasure.&quot; In turn, Th &quot;deauthorize[s] the idea of superegoic power at the very site of its origin.&quot; Transformative Chaucerian humor resists suffering by deflating the power of the superego, the tyrant, and the &quot;regimes of affective governance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/277448">
    <dcterms:title><![CDATA[Chaucerian Insomnia and the Hospitality of Sleeplessness<br />
in Late Medieval Dream Visions.]]></dcterms:title>
    <dcterms:description><![CDATA[Articulates similarities and differences between dreaming and insomnia as devices in late medieval dream-vision prologues, following Emmanuel Levinas&#039;s suggestion that &quot;the self-alienation experienced by the insomniac can be understood as a release from the confines of the singular mind,&quot; and focusing on how insomnia &quot;provides the conditions necessary for ethical, consolatory engagement with others&quot; in BD and in John Clanvowe&#039;s &quot;Boke of Cupide,&quot; with comments on its use in Thomas Hoccleve&#039;s &quot;Regiment of Princes.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273647">
    <dcterms:title><![CDATA[Chaucerian Irony and the Ending of the &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the opposition between &quot;feyned&quot; worldly love and true heavenly love posed at the end of TC produces &quot;dialectical&quot; irony in which the alternatives &quot;share equally in the truth of experience.&quot; Secrecy and deception interact with idealism throughout the poem, indicating that the characters (and all humans) should love as well as they can, despite their inability to achieve ideal love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263332">
    <dcterms:title><![CDATA[Chaucerian Irony in the Boethian Short Poems : The Dramatic Tension Between Classical and Christian]]></dcterms:title>
    <dcterms:description><![CDATA[Form Age, For, Sted, Gent, and Truth show a progression from a strict Boethian adaptation to a more Christian or specifically Augustinian view.  The tension appears in the pervasive irony.]]></dcterms:description>
</rdf:Description></rdf:RDF>